Thursday, 18 March 2010

Mark Khaisman is an artist originally for Kiev Ukraine that now lives in Philadelphia creating innovative art works for Parcel tape on clear plastic so that when a light it shone from behind the piece it shows the layers as different shades to it. On top of the tape he then paints in the finer details to create a unique effect.
Without the light box these works look plain and somewhat strange but add the light and they completely change.

“It has nothing to do with love, nothing at all” is a good explain of how he uses the tape to portray depth and shining light. The figures have a nice movement and emotion to them even though there are no faces.

The way the tape is laid give the effect of fast motion in “You are Nobody but A Escaped Convict” this art style proves that art can be created with pretty much anything with enough though a ingenuity into it, and as a medium I actually rather like but I imagination it would take a while to perfect but it think I will give it a go at some point just to see what I can do with it. I imagination that architecture would work rather well something with plenty of angles and hard edges.


At first I was a little uninspired by the idea of the trash project but actually it was kind of nice to make something so straight forward, first year it no secret that I didn’t get on with 3dsmax but now is I’m not having so may problems with it, this project is good because it was only a 3 week project so I didn’t end up getting caught up with it but a bit more clinical. It really is rather satisfying seeing something finished and with time to spare instead of remaking and remaking over and over but still managing to make the same mistakes.

As for life drawing I have just come to terms that I don’t like charcoal there isn’t enough detail or control, I much prefer working with graphic pencils as it is nice to shade with but has the ability of finer details. I have also found I work much better drawing to music as I seem to loosen up and not over concentrate on one area which tends to kill it.

Bioshock 2

Bioshock was one of my favourite games until the sequel came out. it had all the elements of the previous game but it felt like the enthusiasm was gone. The quirky parts which within the first game weren’t overly obvious but when taken away made it feel repetitive. Small things like the vending machines no longer say the circus of values when interacted with it. Splicers have been changed so to look more mutated before but there is still there are only a few varying types of splicer which make the world boring and repetitive. The environments however are just as impressive as the first game.

The problem with the sequel is that it seems to take forever to actually get to the interesting part which comes along within the last hour of play when they new and inventive parts a introduced such as seeing the world though the eyes of a little sister.

The thing for me that saves it from true disappointment was the Big sisters, they protect the little sisters interest but the way the move is wonderfully graceful yet creepy. They are designed with the big daddy costume in mind but are slimmer fitting with a large extended needle so they have noticeably grown form the little sisters.

Bioshock 2 seems to really lack the passion of the first they should have left it be and moved onto another new game not making joining every other title which has been any sort of success in the mass of sequels which seem to get blander as time goes on.

bit of history

(Figure 1)

Duccio was born around c.1255-1260 in Siena, Italy. He worked mainly with pigment and egg tempera. The work which I will be focusing on (the main panel of the Maesta altarpiece, The Virgin and child enthroned in majesty) which is made with Tempera on Panel. This was commissioned by the city of Siena for the cathedral’s high altar. This would have been for all to see as it wasn’t for a private chapel like the lamentation by Giotto. (This was made using the Fresco style and afterwards completed in secco.) Duccio’s Virgin and child enthroned was 2.13x3.96m compared to Giotto’s The lamentation which is only 2.31x2.02m this is probably because it was done in fresco and therefore each section of it has to be done very quickly before the plaster can dry whereas which tempera there isn’t such strict time schedule. The effect of the fresco is that the people look more alive than in Duccio’s the virgin and child enthroned however in this painting they look more srcene. Both have a wonderful use of colour with the virgins rich blue clock and the blue sky in Giotto’s, in Giotto’s the people are well divided from the background and therefore stand out well.
(Figure 2)

Giotto has used fresco as his medium which is done whilst the plaster is still wet this means that the painting has to be done in small busts, lamentation (2.31x2.02m) is smaller than Duccio’s The Virgin enthroned which is done in tempera on wooden panel is quite considerably larger at 2.13x3.96m this could be because it doesn’t have to be done as quickly as fresco, these techniques give slightly different effects Giotto’s looks more defined so that everything seems to stand out more, however with the speed that it has to be done at there is less detail and smoothing to the shading on the faces which Duccio seems to have made his shading look smoother and therefore looks more lifelike.

The Lamentation is the fifteenth in the scheme of decoration on the Northern wall of the Arena Chapel in Padua, Italy. Before this is the crucifixion and after is the resurrection. This is an easy order to follow the story goes from the top left downwards then when it gets to the bottom it is continued next to the first image to the right.

Giotto showed influences from Nicola Pisano. Nicola Pisano showed several scenes of the biblical text in the Pisa Pulpit, c.1260 which is in the Baptistery in Pisa. The building of the baptistery was due to some recent navel victories in 1258. the shape of the pulpit is quite rare with its small polygon shape which means that it fits into the surrounds perfectly. It was also had influence as the a panel of it didn’t just show one depiction of the Nativity for example I had multiple scenes in one panel, for example in the Nativity (figure 3) has Joseph being appeared to by Gabriel the angel. And the shepherds which are following the star towards the stable which Jesus was born in.

Figure 3(Above)

Figure 4

Giotto Also showed influences and advancement on the work of Cimabue who was Giotto’s master. They both have detailed drapery whoever Giotto’s looks as if it’s showing the form of the people below there clothes whereas Cimabue Madonna Enthroned with Angels and Prophets (figure 4) the fold of fabric on her leg doesn’t look as if the knee is bent or out straight instead it curves in a unnatural manner. Giotto seems to add more emotion into his characters you can really see there pain and anguish at the death of their beloved lord. Cimabue’s Madonna enthroned is more presenting the Christ child with a satisfied smile, but none of the figures show emotion and movement like Giotto’s. In Giotto’s mourning of Christ it looks like the central man In peach is going to sweep down and hold the body any minute, and the Virgin mother holding Christ looks as though she is going to hug the corpse or stroke it.

Duccio was influenced by Simone Martini which is easy to see as the way they did the faces are very similar however what is more similar is Simone Martini’s The Annunciation and two saints and Duccio’s The Virgin and child Enthroned (figure 1) where both of the depictions of the Virgin Mary are wearing exactly the same coloursto symbolise there connection to heaven.
(Figure 5)

Catcher in the Rye

A little while back I read catcher in the rye which in my opinion was one of the most over rated classics I have ever read, the whole book seems to be about a irritating boy that wastes his money one ridiculous things not thinking of the consequences, he falls in and out of love with every girl he meets then slates then as soon as they point out that he’s ridiculous human being with no redeeming qualities he rips them. However part of the reason I particularly dislike this character is because he is very much like someone at home, probably the only reason that I continued to read it with sick fascination. The further into the book that I begun to realise that there is really is no point to the book and it really doesn’t warrant the status of a classic. People seem to automatically seem to think that because a book is a classic therefore it must be a good book and that to speak against it to show yourself as a uncouth fool, but why not really all I ever seem to hear (in relation to classic books) how wonderful but difficult they are but surely the reason to read a book is to enjoy it and gain something from it but to struggle though it just to say that you’ve read it seems sadistic. I read want I want to read not what I believe I should read which I have noticed isn’t the case with a few people that I know, one of them is actually attempting to read the Qua’rn purely to prove that she has read it. It should be a education or pleasure hopefully both and I don’t think I will be forcing myself to read anything like catcher in the rye of a long time, after reading that I honestly didn’t want to pick up a book of weeks.

group project

Working as a group we are creating a level in the style of the Resident evil use the queens building as reference. This will then be put into a game engine.

We need to create a realist and accurate representation of the queens building.
Firstly we will take reference photos of the area of the queens which we will be recreating and the concept the theme according to them. After this is completed and a good visual concept has been obtained we will white box the area using the unreal engine. This should be completed relatively quickly so more time can be spent on creating the assets. Assets will be documented the divided evenly amongst the group. (Sixteen assets each) By week 4 all assets should be modelled and the UVW unwrapping started. All asset should have a sensible tri count, bearing in mind the how much use the asset will have with the game i.e. a static object on the ceiling or something is to be interactive or close to the camera/ player. Texturing should use the concepts so everyone work fits together this should take at most two weeks so there will be time to sort out any problems and then to be placed into the unreal engine. Everyone is required to learn the unreal engine as to present there participates within the project.